![]() In those cases, works chosen are generally larger and longer than intermediate or even early advanced works.ĭifferent systems can work effectively for different students, depending on their level of ability, their personality, and personal preferences. ![]() Some teachers build the student’s repertoire piece by piece, especially at the advanced levels. Masterwork Classics and Classics Alive! are two series that have served this purpose for teachers and students alike. The advantage of such systems is that the base literature plan is set at a skill and musicianship level that the student works through gradually, ensuring smooth progress. The core repertoire for the student to play is chosen, although flexibility always exist within the framework of that core repertoire anthology or method. Sometimes new repertoire pieces are chosen to supplement a core curriculum, a classical literature leveled series, or volumes of a beginning piano method. ![]() Yet, probably the most important consideration for the student, even more than for the teacher, is that the piece “feels right” for him at this time in his study. Does he or she need a relatively long, major work, or a quick-study piece, or maybe a show stopping etude? Perhaps a contemporary piece is needed to balance the current repertoire. I am often asked, “How do you go about selecting repertoire for your students?” Most pieces that a student plays have a clear place in the progression and sequence of music that person is studying, and should fit in well with his other works, balancing difficulty levels, genres, and techniques, etc.
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